Plugging In

With the technology packed into digital consoles these days, even lower-end mixers and consoles give engineers accessibility to tools that were previously reserved for the studio and high-end products. The problem is no longer having enough dynamics and effects for a mix, but rather how to use the on-board effects and also what plug-ins should be used. With the addition of so many new processing possibilities, mixing live feels more like mixing in the studio than ever before. And learning how to use these tools can be just as challenging as deciding when to use them.

The Basics

The channel features on today's digital console vary from console to console. A Yamaha M7CL gives you two separate dynamic processors, so when I mix vocals on an M7 I typically use the first processor as a compressor, and the second as a de-esser. It works great most of the time. Contrast this to Digico's SD9, which offers gates and compressors on each channel, with the option of switching the compressor from single to a multi-band compressor. I've found that this can work great on bass guitar or a very dynamic singer. No matter the digital console, you can assume you'll at least have a compressor and EQ to use on each channel. But what happens when you find yourself needing more? When is the appropriate time to start venturing into the plug-in realm? I support the idea that when you can no longer achieve the internal (you as the mixer) and external (church staff and attendees') standards for the audio excellence, it's time to look into other options.

When and What to Get

First off, just because you see a big need in your signal chain does not automatically justify buying a new console. I walk into churches all the time where it's obvious that the brand new top-of-the-line digital console was purchased not out of the church's “need,” but out of the audio director's desire to have the latest and greatest. Having the best gear is not the goal; having the best listening experience is.

Secondly, look closely into what you have and see if you can improve things. This might mean utilizing the bus compression that most digital consoles offer in their groups section. Create a drum group that includes Kick, Snare and Toms and turn on the groups compressor to a high ratio (8:1 or higher) with a slow attack and faster release. Send that to the Stereo bus. Depending on the phase relationships in your console you can mix in this group or take the included channel out of the stereo bus. This typically yields a very present, very “finished” drum sound.

I find that the most obvious indicators of a need for plug-ins will be on your acoustic signals. This usually means your drum kit and vocals. Nearly everything else is a direct signal. Once you find an apparent need, consider your options. Utilizing your digital console's I/O, you can always use that analog gear you have in your church's storage closet as analog inserts. I've found dbx 160s, Distressors and TC 2290s, forgotten in churches' back rooms, and it's a shame—these are plug-ins.

One of the easiest ways to incorporate plug-ins into your current setup, no matter the console, is Waves' MultiRack. With a laptop and analog or digital inserts, you have access to Waves' award-winning collection of plug-ins. Sibilant singer and no de-esser on your console? Try Waves Renaissance De-Esser—one of my favorites for the studio, it works amazing in a live mix. Want a classic parallel vocal compression without all the complicated routing? H-Comp is a great sounding compressor with a “mix” knob that blends the compressed and dry signal.

A fun studio trick is to add smaller amounts of harmonic distortion to bass guitar with a plug-in like One Knob Driver. Although, when adding overdrive and distortion in live sound you need to be really careful. It's very easy to over do this type of effect and you can end up with a muddy, peaking signal quite quickly. When using this type of effect, be very light-handed with it. Oftentimes, the effect is not heard as much as it is perceived.

Bus compression is one of the best uses for plug-ins. The SSL G Master Bus is a recreation of the classic SSL Bus compression. Inserting this on your Master L/R can create a beautiful finished sound that really smoothes out your mix. The 1176 is one of the most classic compressors in the studio that excels on vocals, drums and guitars. Waves offers a great version of this in the CLA-76 plug-in. Yamaha offers a version of the 1176 in both the M7CL and also the new CL Series Mixer. Both of these plug-ins offer the classic coloration that can go from subtle, to in-your-face compression with a few changes. The classic “All-In” mode can sound amazing on a drum bus. It really gets the drums pumping. But again, be careful—this is a studio trick where engineers get 15-20 db of reduction with no worry about feedback. When using a tool like this live, always make slow movements and really listen to things as you are adjusting them. Every studio technique is not going to translate to the stage.

A Step Further

If your church is fortunate enough to have an Avid console, then you are already aware of the seemingly endless options of plug-ins for that console. Here are a few of my favorites outside of the Waves family of plug-ins.

SoundToys EchoBoy

My favorite delay plug-in right now. It has great emulations of classic delay processors like the Roland RE-201 Space Echo, and Boss DM-2. It has a tap-tempo feature, a high- and low-pass filter and you can select different types of “saturation” to give the effected signal some real character. I love this on lead vocal.

Massey De:Esser

Massey has a small but value-packed plug-in selection. They all sound amazing and offer a great value. My favorite for live applications is their De:Esser. It's one of the most natural de-essers I've ever used. Great on vocal, and also a nice tool to use on a snare mic that may be picking up too much high hat. Find the problem frequency and adjust the threshold to get rid of the unwanted frequency.

Crane Song Phoenix

This is a much-loved plug-in by many of my live engineering friends. It is a tape-emulation plug-in that sounds great on bus outputs. So if you are mixing FOH (front of house), try it on your stereo bus. If you are mixing in-ear monitors, try it on the mix outputs. With just three setting and one knob it is very easy in use. It offers a great way to smooth out transients and give warmth to your mixes.

Conclusion

The reality is that although we all have complaints about our systems, few of us are using our console, outboard, internal effects and plug-ins to their fullest. When you are ready to take the plunge into the plug-in world, consider your options and try adding things one at a time. Take time to master each tool you bring into your system. It's really easy to buy 25 plug-ins and then get overwhelmed when you realize—“I don't know how to use any of this stuff.” Having a tool is not useful unless you know how to use it.